Catalina Chervin

catalina chervin

CECILIA DE TORRES, LTD.

140 GREENE STREET

NEW YORK, NEW YORK 10012

t: 212 431 5869 f: 212 343 0235

e: [email protected]

www.ceciliadetorres.com

POSTSTRASSE 21

D-10178 BERLIN

T +49 (0)30 2787 608 0

www.lempertz.com

catalina chervin

con la medida de mi aliento

as I breathe

5

This report is based on my personal view of Catalina Chervin’s work when one of her large drawings (Figures, 1998) was acquired by the Albertina in Vienna. The main point of interest in her drawings lies in their amazing synthesis of traditional drawing technique and a metaphorical quality which is absolutely contemporary: Human experience of self consciousness as awareness of the human body and mind is visualized purely through traditional drawing techniques. Special or striking features within the human constitution become forms which can be reflected in the viewers perception as direct manifestations of sensual experience. They do not primarily transmit visual conventions.There is no looking at but a sort of tactile feeling of the body. The tradition of this type of experience is relatively recent in the visual or graphic arts. One could perhaps name Arnold Schönberg for some of his selfportraits, Francis Bacon, Maria Lassnig or Evgeny Chubarov. Instead of translating human body awareness indirectly from the viewers eye or from some visual memory established in human society, Chervin uses her drawing technique skilfully to reflect a physical type of experience through arising, lasting and disappearing forms.With regard to this technique Alisa Tortosa has pointed out the artist´s apparently unintentional constitution of plastic forms out of atmospherical fields of stroke layers (bac, Buenos Aires, 2000). The effects of these drawn impulses appear like the yet unknown organs of a united experience of body and mind. Since her emancipation from surrealist imagination Catalina Chervin has worked steadfastly to clarify and deepen her abilities to transform a process of sensual selfexperience into visual form.The dramatic beauty of her work confirms this outstanding artist’s efforts and justifies the highest expectations for her future work.

Dr. Marietta Mautner Markhofcurator of the albertina, vienna

english

Untitled, 2012

Mixed media on paper mounted on canvas78 3/4 x 59 in / 200 x 15o cm

detail

6

germanIch gehe vom Werk Catalina Chervins aus, wie es sich für mich dargestellt hat, als eine ihrer großen Zeichnungen (Figuras, 1998) vor einigen Jahren in die graphische Sammlung der Albertina in Wien aufgenommen wurde.

Es geht hier um Zeichnung als Metapher für die Erfahrung des Menschen als Bewußtsein seiner körperlichen Wahrnehmung. Die Unregelmäßigkeiten und Besonderheiten seiner Konstitution werden zur Quelle von Formgebilden, die sich auch im Bewußtsein des Betrachters als unmittelbar körperliche, also nicht primär visuelle Manifestationen widerspiegeln. Es geht nicht um die „Sicht“ des Körpers sondern sein Erfühlen durch einen Erfahrungsmodus, dessen Tradition in der bildenden Kunst noch nicht sehr alt ist. Am ehesten können Künstler wie Arnold Schönberg, Francis Bacon, Maria Lassnig oder Evgeny Tschubarov als Beispiele dafür herangezogen werden, wie das Studium der menschlichen Natur durch die körperliche Selbsterfahrung eines Individuums bildnerische Form annehmen kann.

Statt das menschliche Körperbewußtsein mittelbar aus dem Auge des Mitmenschen bzw. in dem vom allgemeinen Bildgedächtnis geprägten Menschenbild widerzuspiegeln, lässt Chervin Gebilde des unmittelbaren, sinnlichen bzw. körperlichen Erlebens durch eine Zeichentechnik entstehen, die dem Auftauchen, der Anwesenheit und dem Verschwinden körperlicher Erfahrungsmodi auf geschickte Weise entgegenkommt.In diesem Sinn hat Alina Tortosa auf Chervins scheinbar völlig absichtslose Gewinnung körperlicher Formationen aus einem Feld atmosphärisch wirkender Schichten aus Strichen hingewiesen (bac, Buenos Aires, 2000), aus denen sich die Impulse der lebendigen Erfahrung zu noch nie gesehenen „Organen“ des Bewußtseins und des Körpers herausbilden.

Seit ihrer allmählichen Lösung von surrealistischen Imaginationen arbeitet Catalina Chervin seit Jahren an der Klärung und Vertiefung der Möglichkeit, einen Prozess sinnlicher Selbsterfahrung in eine sichtbare Form zu übertragen.Die erstaunliche Schönheit der Ergebnisse ihrer Arbeit zeigt nicht nur, dass ihre Bemühungen auf dem richtigen Weg sind, sondern dass man sich noch Einiges von dieser außergewöhnlichen Künstlerin erwarten darf.

Dr. Marietta Mautner Markhofkuratorin der albertina, wien

7

El siguiente comentario se basa en mi apreciación personal de la obra de Catalina Chervin cuando la Albertina, en Viena, decidió adquirir uno de sus grandes dibujos (Figuras, 1998). Lo más interesante de sus dibujos reside en la extraordinaria síntesis lograda entre la técnica tradicional del dibujo y unacualidad metafórica innegablemente contemporánea. La experiencia humana de la conciencia de sí, en tanto conciencia del cuerpo y la mente, se visualiza exclusivamente por medio de las técnicas tradicionales del dibujo.Los rasgos especiales o llamativos que forman parte de la constitución humana se tornan en formas que, en la percepción del espectador, pueden reflejarse como manifestaciones directas de la experiencia sensual pues no transmiten en primer lugar las convenciones visuales.

No hay una mirada sobre el cuerpo, sino una suerte de sensación táctil, un tipo de experiencia cuya tradición es relativamente reciente dentro de las artes visuales y gráficas. En este sentido, quizá podríamos mencionar a Arnold Schönberg en relación a sus autorretratos, o a Francis Bacon, Maria Lassnig o Evgeny Chubarov. En vez de ofrecer una traducción indirecta de la conciencia del cuerpo a partir de la mirada del espectador o de algún tipo de memoria visual instalada en la sociedad humana, Chervin se vale hábilmente de su técnica del dibujo para reflejar una experiencia física mediante formas que surgen, permanecen y se desvanecen. Respecto de esta técnica, Alina Tortosa ha señalado la constitución de formas plásticas aparentemente involuntarias que emergen de atmósferas creadas por capas sobre capas de trazos (bac, Buenos Aires, 2000). Los efectos de estos impulsos en forma de dibujo aparecen como los órganos todavía desconocidos de una experiencia en la que se unifican cuerpo y mente. Desde su emancipación del surrealismo, Catalina Chervin ha trabajado tenazmente para clarificar y profundizar las habilidades que le permiten transformar un proceso de autoexperiencia sensual en formas visuales.La belleza espectacular de su obra confirma los resultados obtenidos por esta artista sobresaliente y justifica las más altas expectativas sobre su obra futura.

Dra. Marietta Mautner Markhofcuradora de la albertina, viena

spanish

10

Untitled, 2012

Charcoal, pencil and ink on paper29 x 23 1/4 in / 74 x 59 cm

12

Untitled, 2011 - 2012

Charcoal, pencil and ink on paper30 x 22 in / 76 x 56 cm

14

Untitled, 2008 - 2011

Charcoal, pencil and ink on paper41 1/4 x 30 in / 105 x 76 cm

16

Untitled, 2009/2010


18

Untitled, 2008 - 2012


20

Untitled, 2010 - 2011


24

Untitled, 2011

Charcoal, pencil and ink on paper mounted on canvas78 3/4 x 59 in / 200 x 15o cm

26

Untitled, 2010


28

Untitled, 2011


32

Untitled, 2009


34

Untitled, 2012


38

Untitled, 2009 - 2011


40

Untitled, 2010 - 2012


Untitled, 2012


48

Untitled, 2012


50

Untitled, 2012


54

Catalina Chervin

Born in Corrientes, Argentina in January 1953. Graduated from The National School of Fine Arts Ernesto de la Cárcova, she was also trained by great Argentinian masters. In New York City, she worked at Robert Blackburn’s Printmaking Workshop and with Takuji Hamanaka. She worked in collaboration at Lothar Osterburg’s (ny, 2004 - 2010), and Kathy Caraccio’s (ny, 2003) respective workshops.

Public Collections

Graphische Sammlung Albertina. Vienna, Austria.Victoria & Albert Museum. London, uk.The British Museum. London, uk.Brooklyn Museum of Art. Brooklyn, ny, usa.Princeton University Art Museum. Princeton, ny, usa.El Museo del Barrio. New York, ny, usa.“Aspekte Imaginativer Kunst Im 20 Jahrhundert”,

Permanent Collection, Bochum Museum. Bochum, Germany.Achenbach Foundation for Graphic Arts, Fine Art Museums of San

Francisco. San Francisco, ca, usa. The New York Public Library. New York, ny, usa.Jack S. Blanton Museum of Art. The University of Texas. Austin, usa.“Woldemar Winkler” Collection. Gütersloh, Germany.University of Essex. Collection of Latin American Art. Essex, uk.Museum of the Americas. Washington, dc, usa.Cedar Rapids Museum of Art. Cedar Rapids, Iowa, usa.Jane Voorhees Zimmerli Art Museum. New Brunswick, nj, usa.Permanent Collection, qcc Art Gallery. City University of New York.

New York, ny, usa.Contemporary Art Museum. Buenos Aires, Argentina.Museum of the Ayuntamiento Ferrol. Ferrol, Spain.Housatonic Museum of Art. Bridgeport, Connecticut, usa.Comisión Nacional de Energía Atómica. Permanent Collection.

Buenos Aires, Argentina.Eduardo Sívori Museum. Buenos Aires, Argentina.The Printmaking Workshop “Robert Blackburn”. New York, ny, usa.The Francis J. Greenburger Collection, ny, usa.The Art omi Collection. Ghent, ny, usa.

Selected Group Exhibitions

2012 Re-Open International Contemporary Printmaking Exhibition. Royal Society of Painter Printmakers, Bankside Gallery. London, uk.

2011 Recent Acquisitions: Prints and Photographs. The New York Public Library. New York, ny, usa.

2011 Voces y Visiones: Signs, Systems & The City. El Museo del Barrio, Permanent Collection. El Museo del Barrio. New York, ny, usa.

2011 “Marked Differences / Selections from the Kentler Flatfiles” (Curator Roberta Waddell). Kentler International Drawing Space. Brooklyn, ny, usa.

2011 “Narrando historias: diálogos sobre la gráfica contemporánea”. Borges Cultural Center. Buenos Aires, Argentina. Tamarind Institute. New Mexico, usa.

2011 Art Cologne 2011, Maman Gallery. Cologne, Germany.2011 The Print Club of New York. Prints from member’s collection

(1994 - 2010). The National Art’s Club. New York, ny, usa.2010 H. ART (Herefordshire Art Week). The Drawing Gallery.

London, uk. 2009 “Contemporary Prints”, The Drawing Gallery. London, uk.2009 “Contemporary Drawings”, Victoria & Albert Museum.

London, uk.2008 - 2009 ArteBa. Contemporary Art Fair, Daniel Maman Gallery.

Buenos Aires, Argentina.2007 The Drawing Center. Viewing Program, Artist Registry.

ny, usa. 2006 “Contemporary Graphic in Argentina”, Kairé Desiné Gallery.

Vilnius, Lituania.2005 - 2006 The Drawing Gallery: “40 artists and 40 drawings”.

London, uk.2003 “Newer Genres”, Twenty Years of the Rutgers Archives

for Printmaking Studios. Jane Voorhees Zimmerli Art Museum, State University of New Jersey. nj, usa.

2001 - 2002 Banco Ciudad Foundation Award, National Museum of Art. Buenos Aires, Argentina.

1999 - 2001 Trabucco Drawing Award. Academy of Fine Arts. Buenos Aires, Argentina.

2000 - 1999 Award for Artistic Creativity in Visual Arts. Fondo Nacional de las Artes. Buenos Aires, Argentina.

2000 Museo de la Ciudad. Valencia, Spain.1993 Surrealism in Latin America. Bochum Museum.

Bochum, Germany.

55

Selected Individual Exhibitions

2013 Kunsthaus Lempertz Gallery. Berlin, Germany.2012 Fundación Pasaje 865. Buenos Aires, Argentina.2008 Animal Gallery. Santiago de Chile, Chile.2007 Maman Gallery. Buenos Aires, Argentina.2002 Arroyo Gallery. Buenos Aires, Argentina.2000 Kunstgewinn Gallery. Köln, Germany.2000 British Art Centre. Buenos Aires, Argentina.1998 S. Gallery, Woldemar-Winkler Foundation.

Gütersloh, Germany.1998 J. W. Goethe Universität. Frankfurt am Main.

Frankfurt, Germany.1995 oea Gallery. Buenos Aires, Argentina.1990 Art Gallery, Inter-American Development Bank.

Washington, dc, usa.1984 Del Retiro Art Gallery. Buenos Aires, Argentina.1980 Altamira Gallery. Buenos Aires, Argentina.

Selected International Contests

2003 4th International Triennial of Graphic Art. Bitola, Macedonia.2003 Graphic Art Bienniale. Dry Point Uzice, Yugoslavia.2003, 2001, 1997 International Print and Drawing Biennial.

Museum of Fine Arts of Taipei. Taipei, Taiwan.2001 xii The San Juan-Puerto Rico International Biennial of Latin

American and Caribbean Printmaking. San Juan, Puerto Rico.2000 vii Biennial Gravura. Amadora, Portugal.2000 Fifth Mondial Triennial of Small Size Prints. Chamalières, France.2003, 1999, 1996, 1994 International Drawing Competition.

Ynglada Guillot Foundation. Barcelona, Spain.1999, 1996, 1994 Penagos International Drawing Competition.

Mapfre Foundation. Madrid, Spain.1996 v International Biennial - Drawing. Cuenca, Ecuador.1994 Domecq Biennial. Mexico, df, Mexico.

Selected Awards

2001 Alberto J. Trabucco - Drawing Award. Academy of Fine Arts. Buenos Aires, Argentina.

2003 First Prize - National Drawing Award. Buenos Aires, Argentina.2000 Third Prize - “Manuel Belgrano” Drawing Award,

Eduardo Sívori Museum. Buenos Aires, Argentina.1999 - 1995 Finalist - International Drawing Award. Ynglada Guillot

Foundation. Barcelona, Spain.1988 “Jenaro Pérez Villamil” - Drawing Award. Ferrol, Spain.

Fellowship

2010 Memorial Foundation For Jewish Culture. Fellowship in Visual Arts. New York, ny, usa.

2004 The Pollock-Krasner Foundation. Fellowship in Visual Arts. New York, ny, usa.

2001 Fondo Nacional de las Artes. Fellowship in Visual Arts. Buenos Aires, Argentina.

2009 pcny artists’ showcase 2009. The Print Club of New York. New York, ny, usa.

2002 Visiting artist, Coe College. Cedar Rapids, Iowa, usa.1997 Invited to art/omi Residency. ny, usa.

Publications, Bibliographies and Illustrations

2013 Marietta Mautner Markhof. Catalogue text, Kunsthaus Lempertz. Berlin, Germany.

2007 Edward J. Sullivan: “And the Grotesque of the Quotidian”. Catalogue text, Maman Gallery. Buenos Aires, Argentina.

2002 “Ocultas fragancias que golpean”, Diana Ivizate González. Poetry Book, Editorial Politécnica de Valencia. Valencia, Spain.

2001 “Responses: Intercultural Drawing Practice”. Published by Liverpool School of Art and Design. (cair, Centre for Art International Research). Liverpool, uk.

1998 Hiekish-Picard, Sepp: “Hallucinated Realities”. Robert Morgan: “Catalina Chervin”. Roque De Bonis: “Seismograph”. Graciela Kartofel: “An ink tear”. Museum of Contemporary Art. Buenos Aires, Argentina.

1991 Lelia Driben: “There is a Vacuum”. Uno más Uno Newspaper. Mexico, df, Mexico.

1991 Aldo Galli: “The Pass of Dreams”. La Nación Newspaper. Buenos Aires, Argentina.

1990 José Gómez Sicre: Drawing. Washington, dc, usa.1990 César Magrini: “And the rest is silence”. Catalogue text,

idb Art Gallery. Washington, dc, usa.

Included in “Allgemeines Künstlerlexikon”. Art Dictionary. Berlin, Germany.

www.catalinachervin.com

edited by juan lo bianco

Design: Estudio Lo BiancoPhotographs (works): Pablo MessilPhotographs (artist): Sebastián SzydMarouflage: Fabián Lopardo Spanish translation: Marta Merajver KurlatProofreading: Sara Lechner Tipography: loreto by Pablo Cosgaya & Eduardo TunniPrinting: Proietto & Lamarque S.A.

buenos aires, argentina

To Isidoro Polonsky, my daughters Cecilia and Lucía and to my grandson Theo.

I would like to extend my sincere gratitude to the fondo nacional de las artes from Argentina, Doctor Tomás Pförtner and family, Doctor Ángel Navarro, Professor Oscar Moreno, Artist Eduardo Fausti and to Javier Mendía.

cc

Chervin , Catalina Con la medida de mi aliento. - 1a ed. - Buenos Aires: Catalina, 2012. 56 p. ; 29.7 x 21 cm.

isbn 978-987-28936-0-6

1. Catálogo de Arte. I. Título cdd 708

Fecha de catalogación: 05/12/2012

Cover image

Untitled, 2011


detail

Documents

Catalina Chervin